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A couple comments...

The primary goal of treating this room to reduce its colorations has been to increase perceived playback resolution, and in that regard I rank it as equivalent to the Richard Kern mods to my SCD-777ES. One benefit of that effort has been to reveal more of the beyond-the-plane ambience present in some recordings. I hesitate to call it "concert-hall", since a number of those recordings, many of them symphonic or other large ensemble presentations, have been recorded in venues, including studios, hotels, and other sites, that we wouldn't normally go to for a live concert. It's also difficult to know how much, if any, of that ambience has been "created" in the mixing process. Be that as it may, the end result has been a more corporeal fleshing out of instrument, voice, and the recorded (or inserted) space, a better rendering of overall dynamics, and the sense that what emerges from the more-dimensional soundstage isn't confined to the oft-invoked two-channel "window".

The "overprint" was not even a "probably" in an instance I cited here some months back when just a pair of tube traps placed along the side walls reduced a reflection coloration audible in five-channel playback through a friend's five Paradigm 100 v2's (initially set up in ITU configuration, and moved around when we discovered, before Michael Bishop's revelation, that for some recordings, ITU was "oh so nineties"). The discrete ambient signal did not mask the room coloration, so whatever the theory, in that instance it didn't hold.


Jim
http://www.geocities.com/jimtranr/index.html


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  • A couple comments... - Jim Treanor 10:39:01 03/12/07 (0)


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